Thursday, May 07, 2026

On Numerology

The history of modern psychology reveals that numbers are not merely tools for counting, but also frameworks through which human beings organize experience and model the psyche itself. Numerology – the study of the relationship between quantity and meaning – can illuminate the structural role numbers play in shaping perception, culture, and thought. 

This broader understanding of numerology becomes philosophically possible through the intuitionist mathematics of L. E. J. Brouwer, who argued that mathematics does not originate primarily in symbols or external objects, but in the constructive activity of human consciousness itself.  Number can be understood as a form of “organized perception”: the ordering of experience into rhythm, relation, distinction, symmetry, recurrence, and proportion. From this perspective, numbers begin in the psyche as lived perceptual realities, long before they become formal symbols.


This can be seen clearly in the development of twentieth-century psychology. Sigmund Freud’s psychology is organized around the number 3, as he divides the psyche into id, ego, and superego. The number three expresses the tendencies to express, suppress, and repress instinctual life. 

The triangle is the smallest stable relational structure, and Freud’s psychology mirrors this geometric fact symbolically. The psyche becomes a balancing process between impulse, control, and internalized restraint.

Carl Jung, by contrast, organized the psyche around four primary functions: thinking, feeling, sensation, and intuition. Four represents orientation, balance, and completeness: the four directions, four elements, and fourfold mandala structures that fascinated Jung throughout his work.

Where Freud emphasized psychic tension, Jung emphasized psychic orientation and integration.

The Enneagram Personality Type system emerged later as a synthesis of these traditions. Like Freud, it fundamentally models the psyche through a three-part structure, reflected in the inner triangle of the Enneagram symbol.

Yet the Enneagram’s dynamic stress arrows and personality movement patterns also reflect Jung’s deeper insight that human personality consists of recurring typological transformations rather than fixed static categories.

What makes the Enneagram especially remarkable from a numerological perspective is that it embeds this symbolic psychology within an actual mathematical recurrence. The stress hexad follows the repeating decimal expansion of unity divided by seven:

7 = 0.142857 ​ 

The repeating cycle:

1 → 4 → 2 → 8 → 5 → 7 → 1

is directly generated by the decimal structure itself. The Enneagram then interprets this recurring numerical cycle symbolically as a pattern of psychological movement under stress and transformation. An unhealthy One tends toward Four, Four toward Two, Two toward Eight, and so forth through the repeating hexad.

What are we to make of such a remarkable correspondence between the decimal expansion of a simple fraction and recurring patterns of human psychological behavior? Is the relationship between 1÷7 = 0.142857 ​ and the Enneagram’s stress arrows merely coincidence? Or does it point toward a deeper relationship between mathematical structure and the ways human beings intuitively organize experience?

Post-WWII academic science became extraordinarily successful by emphasizing measurement, formalization, and operational precision. Yet in the process, mathematics became increasingly detached from perception and intuition. Symbolic manipulation gradually displaced visualization and geometry. Schools increasingly rewarded procedural efficiency over intuitive understanding.

Numerology can therefore be understood as a kind of “return of the repressed” within modern intellectual culture. As mathematics became increasingly formalized and results-oriented, older intuitive relationships to number survived mainly among artists, mystics, psychologists, musicians, and symbolic thinkers. Their attraction reflects a desire to reconnect number with meaning, perception, and lived experience. 

Freud and Jung would likely interpret this as the return of symbolic thinking from the unconscious. Brouwer’s intuitionism helps explain why this return is so persistent. Mathematics itself originates in lived intuition before becoming formalized. The attempt to completely sever number from intuition therefore creates tension within mathematics itself. 

Spinoza offers the broadest interpretation. If mind and nature are two expressions of one reality, then the sharp modern division between objective quantity and subjective meaning becomes less stable. Mathematics is not merely external measurement; it also participates in the structure of consciousness itself. Numbers possess qualitative, as well as quantitative meaning, because human beings encounter mathematical structure internally, as well as externally.  We experience rhythm, relation, symmetry, repetition, and order within our consciousness. A triangle feels different from a square.

Numerology allows the mind to explore alternative relationships between quantity, meaning, psyche, geometry, and experience. Sometimes those narratives collapse into fantasy, but it’s not numerology’s role to mechanically predict truth like science. Sometimes numerological explorations do generate genuine philosophical or scientific insight, opening the door to new paradigms.

Friday, April 24, 2026

ChatGPT essay on Intuition and Creativity

 

Creativity as Resistance to Fast Thinking

Over the past 500 years, Western society has not simply become more “rational.” It has become structurally biased toward fast thinking—toward speed, abstraction, and control. What Daniel Kahneman describes as “fast thinking,” and what Iain McGilchrist describes as left-hemisphere dominance, are not just psychological tendencies. They are now built into institutions: markets, universities, and schools.

McGilchrist’s central claim is not that the left hemisphere is bad, but that it fixates, categorizes, and simplifies, while the right hemisphere keeps perception open to context, nuance, and anomaly. The problem arises when the left hemisphere becomes “the master,” reducing reality to what can be measured, predicted, and controlled. Rod Tweedy sharpens this critique: modern culture increasingly treats abstraction as more real than experience itself. The map replaces the territory—and then forgets it ever did.

You can see the historical trajectory. The Scientific Revolution refined measurement. The Enlightenment elevated formal reasoning. Industrial capitalism demanded speed and scalability. Finance compressed time further, rewarding rapid turnover and immediate results. Education followed suit: standardized testing, rigid curricula, and algorithmic instruction all favor quick answers over deep perception.

This is where Angus Fletcher’s work becomes corrective. His training of soldiers, scientists, and salespeople reveals something inconvenient: real intelligence under pressure is not fast thinking—it is adaptive thinking. It requires what he calls “primal intelligence”: intuition (recognizing exceptions), imagination (generating possibilities), commonsense (fitting action to context), and emotion (feedback).

Notice what’s happening here. Fletcher is quietly restoring what McGilchrist says has been lost:

  • Intuition → right-hemisphere openness to anomaly

  • Imagination → narrative simulation rather than static models

  • Emotion → embodied evaluation, not abstract calculation

In other words, creativity is not adding something new. It is recovering a suppressed mode of cognition.

Schools, however, remain structured for the opposite. They train:

  • recognition of patterns, not exceptions

  • execution of procedures, not adaptation

  • correct answers, not exploratory perception

This creates a mismatch. Teachers are asked to operate in complex, human environments, but are trained in simplified, symbolic systems.

Implication for Teaching

Creativity for teachers is about rebalancing cognition.

Teachers must be trained to:

  • slow down perception long enough to notice what doesn’t fit

  • hold ambiguity instead of rushing to closure

  • generate multiple interpretations before acting

  • use emotion as feedback, not interference

This aligns directly with Fletcher’s methods: scenario-based training, narrative thinking, and real-time adaptation.

The Suppression of Intuition

Western society did not eliminate intuition outright. It squeezed it out structurally:

  • Speed became economic value

  • Measurement became truth

  • Abstraction became reality

What survives—sports, entrepreneurship, sales—is precisely where outcomes cannot be fully pre-scripted. There, intuition persists because it is functionally necessary.

Education is the anomaly. It tries to teach a world that no longer exists: one where problems are clean, answers are fixed, and thinking can be reduced to procedure.


Creativity in teaching is not innovation for its own sake—it is the disciplined recovery of slow perception in a system addicted to fast judgment.

Sunday, November 16, 2025

Roger Waters' Amused to Death

My favorite lyrics from Roger Waters’ underrated 1992 solo album, Amused to Death (based on the book Amusing Ourselves to Death by the brilliant social critic Neil Postman)


WHAT GOD WANTS, PART 1


What God wants God gets, God help us all.

The kid in the corner looked at the priest
And fingered his pale blue Japanese guitar
The priest said
God wants goodness
God wants light
God wants mayhem
God wants a clean fight

Don't look so surprised
It's only dogma
The alien prophet cried
The beetle and the springbok
Took the Bible from its hook
The monkey in the corner
Wrote the lesson in his book

What God wants God gets,
God help us all.

God wants peace
God wants war
God wants famine
God wants chain stores

Don't look so surprised
I'm only joking
The alien comic cried
The jackass and hyena
Took the feather from its hook
The monkey in the corner
Wrote the joke down in his book

What God wants God gets


PERFECT SENSE, PART 1


The monkey sat on a pile of stones
And he stared at the broken bone in his hand
And the strains of a Viennese quartet
Rang out across the land

And the Germans killed Jews
And the Jews killed the Arabs
And the Arabs killed the hostages
And that is the news
And is it any wonder
That the monkey's confused?

He said “Mama Mama,
The President's a fool
Why do I have to keep reading
These technical manuals?”

And the joint chiefs of staff
And the brokers on Wall Street said
“Don't make us laugh
You're a smart kid.

“Time is linear
Memory's a stranger
History's for fools
Man is a tool in the hands
Of the great God Almighty.”
And they gave him command
Of a nuclear submarine
And sent him back in search of
The Garden of Eden


PERFECT SENSE, PART 2

Can't you see.
It all make perfect sense
Expressed in dollars and cents
Pounds shillings and pence
Can't you see?
It all make perfect sense

THE BRAVERY OF BEING OUT OF RANGE

I looked over Jordan and what did I see?
Saw a U.S. Marine in a pile of debris.
And through the range finder over the hill
I saw the frontline boys popping their pills
Sick of the mess they find
On their desert stage
And the bravery of being out of range

Just love those laser guided bombs
They're really great for righting wrongs.
You hit the target and win the game
From bars 3,000 miles away

We play the game
With the bravery of being out of range
We zap and maim
With the bravery of being out of range
We play the game
With the bravery of being out of range


TOO MUCH ROPE

When the sleigh is heavy
And the timberwolves are getting bold,
You look at your companions
And test the water of their friendship
With your toe,
They significantly edge
Closer to the gold.
Each man has his price Bob
And yours was pretty low.

Que sera sera
Is that your new Ferrari car?
Nice! but I'll think I'll wait for the F50

You don't have to be a Jew
To disapprove of murder
Tears burn my eyes
Moslem or Christian Mullah or Pope
Preacher or poet who was it wrote?
Give any one species too much rope
And they'll fuck it up


WHAT GOD WANTS, PART 2

What God wants God gets, God help us all
God wants dollars
God wants cents
God wants pounds shillings and pence
God wants guilders
God wants kroner
God wants Swiss francs
God want French francs.
God wants escudos
God wants pesetas
Don't send lira
God don't want small potatoes


WHAT GOD WANTS, PART 3

Christ it's freezing inside
The veteran cries
The hyenas break cover
And stream through the meadow
And the fog rolls in
Through his bottle of gin
So he picks up a stone
That looks like a bone
And the bullets fly
And the rivers run dry
And the fat girls sigh
And the network anchor persons lie
And the soldier's alone
In the video zone
But the monkey's not watching
He's slipped out to the kitchen
To pile the dishes
And answer the phone


WATCHING TV

We were watching TV
In Tiananmen Square
Lost my baby there
My yellow rose
In her bloodstained clothes

She had high hopes
She had almond eyes
She had yellow thighs
She was the daughter of an engineer

So get out your pistols
Get out your stones
Get out your knives
Cut them to the bone
They are the lackeys of the grocer's machine
They built the dark satanic mills
That manufacture hell on earth
They bought the front row seats on Calvary
They are irrelevant to me

And I grieve for my sister

We were watching TV
Watching TV
We were watching TV
Watching TV
She wore a white bandanna that said
Freedom now
She thought the Great Wall of China
Would come tumbling down
She was a student
Her father was an engineer

Won't you shed a tear?
For my yellow rose
My yellow rose
In her bloodstained clothes

And she is different from Cro-Magnon man
She's different from Anne Boleyn
She is different from the Rosenbergs
And from the unknown Jew
She is different from the unknown Nicaraguan
Half superstar, half victim.
She's a victim-star. Conceptually new.

She's everybody's sister
She's symbolic of our failure
She's the one in fifty million
Who can help us to be free.

Because she died on TV


THREE WISHES

There's something in the air
And you don't know what it is
You see someone through a window
Who you've just learned to miss
And the road leads on to glory
But you've used up your last wish
And you want her to come home


AMUSED TO DEATH

Doctor Doctor what is wrong with me
This supermarket life is getting long
What is the heart life of a colour TV?
What is the shelf life of a teenage queen?

We watched the tragedy unfold
We did as we were told
We bought and sold
We drove our racing cars
We ate our last few jars of caviar
And somewhere out there in the stars
A keen-eyed look-out
Spied a flickering light

And when they found our shadows
Grouped 'round the TV sets
They ran down every lead
They repeated every test
They checked out all the data on their lists
And then, the alien anthropologists
Admitted they were still perplexed.
But on eliminating every other reason
For our sad demise
They logged they only explanation left
This species has amused itself to death